“I’m Black an’ I’m Proud”: Ruth Negga, Breakfast on Pluto, and Invisible Irelands Charlotte McIvor This article examines Ethiopian-Irish actress Ruth Negga’s performance in Neil Jordan’s 2005 Breakfast on Pluto in light of recent cultural, racial, and socio-economic shifts in Irish society. How does Negga’s identity as an Irish actress of color influence possible receptions of this film in post-Celtic Tiger Ireland and contest notions of Irishness that have typically been allied only with whiteness? Roddy Doyle famously posited a relationship between the Irish and African-Americans thus in his 1987 novel The Committments: --The Irish are the niggers of Europe, lads. They nearly gasped: it was so true. --An' Dubliners are the niggers of Ireland. The culchies have fuckin' everythin'. An' the northside Dubliners are the niggers o' Dublin. -----Say it loud, I'm black an' I'm proud. He grinned. He'd impressed himself again. He'd won them. They couldn't say anything.1 Jimmy Rabitte, band manager, uses this turn of phrase to convince his motley crowd of Dublin Irish musicians to form a soul band, although the phrase was later reimagined in the film as, “The Irish are the blacks of Europe” [emphasis mine]. In 1987, in the midst of the continuing Troubles in the North, long posited by some as an anti-colonial war, and ongoing poverty in the Republic, Rabbitte’s statement had a particular resonance. It captured the confused ethnic identity of the Irish throughout the 19th and 20th centuries as well as framed their contemporary underprivileged status in a metaphor that was immediately understandable to the lads and the book's/film’s audience. “Celtic Calibans,” “Black Irish,” “Simians,” “Paddies,” “the niggers of Europe:” these slurs against the Irish recall a colonial history of violence that positioned them as an inferior race vis-à-vis the British, 1 Roddy Doyle, The Commitments, in The Barrytown Trilogy (New York: Penguin Books, 1992), 13. IVC no.13 McIvor / “I’m Black an’ I’m Proud”, 23 yet also positioned the Irish as frequent collaborators in the work of Empire in India and other outposts. Thus, the contradictions and immediate emotional appeal contained within Jimmy Rabitte’s assertion indexes an Irish history of engagement with race, ethnicity and power that is far from simple. A contemporary engagement with African/African Irish identity and politics in Ireland, as well as with various other Third World nations and groups can be traced to the rise of the “Troubles” in Northern Ireland. From the late ‘60s through the present day,2 the Irish Republican Army and associated parties asserted their identification with Third World anti-colonial struggles, as well as with Black Nationalist groups, through murals3 and other forms of propaganda as the Troubles erupted and transformed the landscape of Northern Ireland into a bloody struggle between various political factions composed of Catholic and Protestants over the question of whether Northern Ireland was rightfully part of the UK or the Republic of Ireland.4 This renewed identification with a language of anti-colonialism on the part of the I.R.A. was also accompanied by the influence of the African-American non-violent Civil Rights movement on peaceful protests organized during this period. These protests were responding to the presence of the British and high levels of unemployment and poverty in the Catholic community. 2 As recently as 2007, the Irish-Cuban solidarity group erected a new mural in Derry to celebrate the 40th anniversary of Che Guevara’s death. This memorial also acknowledged Guevera’s Irish heritage through his grandmother through honoring him as “Che Guevara Lynch.” Sinn Féin MLA Raymond McCartney said that their celebrations would look at: “the shared history of Cuba and Ireland and transition from armed struggle to political struggle. Ireland has long been a beacon for those in the wider world seeking justice and equality and struggling against colonialism and imperialism. We have also learned from other nations who have had to struggle for their freedom. During the 1981 hunger strike Fidel Castro stood up in the United Nations in defence of the men in the H Blocks and the women in Armagh and we must never forget that that” (“Derry to mark the 40th anniversary of Che Guevara death,” http://www.sinnfein.ie/news/detail/20601). 3 Nationalist mural painting in the North did not begin in earnest until the early 80’s. Bill Rolston traces this to the Republican H-Block prisoners hunger-strike campaign in 1981 and to the death of Bobby Sands in particular. Nelson Mandela, Che Guevara, Lenin, the Palestine Liberation Organization, and South West Africa People’s Organization are some of the figures and groups depicted in Republican murals during this period. See Brian Rolston, Politics and Painting: Murals and Conflict in Northern Ireland (Salem, MA: Associated University Presses, 1991). 4 See Brian Dooley, Black and Green: The Fight for Civil Rights in Northern Ireland & Black America (London and Chicago: Pluto Press, 1998); Elizabeth Butler Cullingford, Ireland’s Others: Gender and Ethnicity in Irish Literature and Popular Culture (Notre Dame, IN: University of Notre Dame Press); David Lloyd, Ireland After History (Notre Dame, IN: University of Notre Dame Press, 1999). IVC no.13 McIvor / “I’m Black an’ I’m Proud”, 24 The Troubles lasted from the late 1960s up until the Belfast Agreement of 1998. During this major period, an Irish understanding of ethnicity and colonial histories was constantly being re-imagined in relation to the violence in the North. This period eventually coincided with the rise of post-colonial theory in the Western academy, a convergence that should be examined as more than conveniently coincidental. During this period, Ireland’s relationship to post-coloniality was frequently framed through its contemporaneous engagement with what some would term an anti- colonial war and which others would criticize for continuing to center a violent nationalism at the root of Irish politics as well as ignoring the claims of Irish Unionists. Neil Jordan’s 2005 film Breakfast on Pluto, based on Patrick McCabe’s 1998 novel, is set during this period in the late 1960s and early 70s in a fictional Irish town called Tyreelin. The film is the story of Patricia “Kitten” Brady, a young transgendered woman who searches for her birth mother in London. She is the daughter/son of the local village priest, Father Liam, and his former housekeeper. Set against the background of the eruption of the Troubles, Kitten’s circle of friends notably includes Charlie, played by Ethiopian-Irish actress Ruth Negga.5 In the course of the film, Negga’s character plays a central role as Kitten’s best friend and the girlfriend of their mutual friend, Irwin, who becomes heavily involved with the I.R.A. After an ambiguous failed romance with the lead singer of Billy and the Hatchets, who is also an arms runner for the I.R.A., Kitten leaves Tyreelin to seek her mother in London as violence mounts at home. In London, she barely escapes strangulation while attempting to enter sex work, serves as assistant for a magician, works as a “Wobble” for a popular children’s television show, and is accused of being a terrorist when her biological sex is revealed following a bombing at a British nightclub. Violence pursues Kitten even as she decries it as “too serious,” but this last incident finally brings her back into contact with Father Liam who reveals her mother’s name to her after tracking her down hiding out working at a peep show. Posing as a telephone survey worker, Kitten does not ultimately reveal herself to her mother who has a new family and more urgent events call her back home to Ireland. A now pregnant Charlie is devastated when Irwin is killed by the I.R.A., and Kitten returns home to take care of her and prepare for the new baby. Reconciled 5 Negga was trained in acting at Trinity College and named as “Ireland’s Rising Star” in 2006 at the Berlin Film Festival. IVC no.13 McIvor / “I’m Black an’ I’m Proud”, 25 with Kitten, Father Liam sets up her and Charlie in the rectory and they enjoy a brief period of happiness. Community shock at Father Liam’s conduct and shelter of this unwed pregnant mother and queer friend culminate in the rectory being firebombed, and Charlie and Kitten essentially being forced out of the town. In the final shots of the film, Charlie, Kitten, and the baby are featured as a happy queer family living together in London (http://www.allmoviephoto.com/ photo/2005_breakfast_on_pluto_026.html), seemingly having come to terms with the violence and anxieties which plague them throughout the rest of the film by leaving Ireland. This ending suggests that Kitten has found happiness through domesticity rather than “true love” and in finding her father, Father Liam, the village priest, rather than her mother. Yet, as Judith Halberstam observes in A Queer Time and Place, London, particularly in the 1970s at the height of the Troubles, can hardly be considered a “multicultural refuge, a place where formerly colonized peoples find a home.”6 Here, Halberstam is actually referring to the ambiguous ending of Jordan’s 1993 film The Crying Game, which also featured a transgendered character at the center of the plot in an examination of the Northern Irish Troubles. But Halberstam’s comment also holds true for Pluto and renders the ending of both films highly suspect. In both, a relationship between queerness, racial Otherness, and exile in London appears essential in order for the Irish characters to transcend the conflict in the North as well as the oppressive Catholic society that they leave in search of freedom.